Technical Description

The Procures

The Procuress was restored in 2002-2004 made after intensive conservational examinations.

Signed at the lower right corner, in dark brown color:  i v Meer. 1656  (ivM in ligature). The support is a hand-woven linen with a threat count of 14x12 per cm2 (warp/weft), a piece attached in the lower quarter. The original edges of the paint- and ground layers are preserved and prove that Vermeer had stretched the canvas onto a strainer. At all sites the original strainers are reconstructible and  refer to the original straining in somewhat irregular distances of c. 60 to 120 mm.

The double ground consists of a first layer with lead white and chalk and a second in a light reddish tone like that of bricks. Chalk, lead white, a yellow ocher, as well as a red ferric-oxide have been proved. As the medium of the ground layers served a linseed varnish with portions of protein. The paint layer itself is – due to the protein – in a relative solid condition. At the radiograph there are arched traces of scraping visible in the background left above. They refer to the application of the ground with a palette knife.

The palette of colors employed in the Procuress encloses the usual pigments and organic colors, known in 17th century Dutch painting, which are also verified in other paintings by Vermeer: one warm and one cold red tone (vermilion, a crimson lake [cochineal] ), several yellow tones (lead tin yellow type I, yellow ochre, a yellow-brown organic dye stuff on a lead white substrate), four blue tones (ultramarine, smalt, indigo and a rarely used iron phosphate, probably vivianite), brown and black tones (brown ochre, brown organic dyes and lakes, possibly Cassel brown; bone black, vine/plant black and possibly traces of soot) as well as lead white and chalk.

The paint layers appear lively and strongly colored. The paint application is largely covering and performed à la prima, with rather broad brushes. The various structures of the paint surface can be explained by a speedy working process with several corrections of the composition. Single light, thick hairs of brushes, probably pig's bristles, are embedded on large parts of the picture, mainly in the black area, which evidence a strong work on the surface.

Traces of the use of a pair of compasses are visible in the paint layers of the wine jug (the piercing point and traces of scratching, to define the exact contours and the decoration).

Vermeer mad several changes in the course of the painting process which have altered its final effectsignificantly.
shadowing of both the men's faces with larger headgear to concentrate the light on the young woman and the still-life in front of her; the view of the suitor (previously fixed on the young woman; now concentrating on the payment); the attitude of the young woman's hand, now rather unnaturally bent and empty. The radiograph revealed a further coin visible in the hand of the woman. Furthermore a light form appeared near the hand with the cittern, probably the outstretched right hand of the procuress, involved in the payment. It had been overpainted with her black garment.

from: Johannes Vermeer. »Bei der Kupplerin«. Eds. Uta Neidhardt, Marlies Giebe, Dresden 2004.

signature:

'The Procuress' is the only signed early work with date in the right corner below, done with brush and dark brown color: i v Meer 1656 (ivM in ligatur)

The Procuress, Johannes Vermeer